Skip to main content

Reply to this post | See parent post | Go Back
View Post [edit]

Poster: snow_and_rain Date: Sep 7, 2011 8:01am
Forum: GratefulDead Subject: Re: Current Events Spaces - Blair Jackson Addition

You must have been thinking about "Khadafy Death Squad" space. There was also a "Reagan in China" space.

Page 325, upper-middle; the spring '82 tour:

Other notable highlights from the road trip included two "space" jams that deviated from the normal dense guitar cacophony. In Hartford on April 18, Phil celebrated the anniversary of the great San Francisco earthquake of 1906 by rapping about that event in a sort of poetic narrative as the players created their own noisy earthquake: "The Barbary Coast, 1906, the wickedest place in the world. A place with sin and salvation. Woo-ooh, lots of fun, hey!" and so on. The next night, in Baltimore, Phil was once again at the mike during "space," this time reciting "The Raven" by Baltimore native son Edgar Allen Poe.

Garcia always loved "space" because it was the one part of the concert when he could be completely free musically — there were absolutely no rules. In 1984 Garcia called this music "our most free-form stuff, the stuff that's not really attached to any particular song. It's not rhythmic, it's not really attached to any musical norms; it's the completely weird shit. The last couple of years we've been picking themes for ["space"] and thinking of that like being a painting or a movie. I think our most recent theme was Reagan in China. One time we had the Khadafy Death Squad as our theme. Sometimes they're terribly detailed, sometimes they're just a broad subject. We do this when we think about it; when we remember to. It's not a hard, fast rule. It's made that part of the music at times have some tremendous other level of organization that pulls it together and makes it really interesting.

"It provides a sort of invisible infrastructure than anybody can interpret however they want and it still provides a centerpiece for us all to look at. It's provided for us more interesting shapes for that nonformed music, that shapeless music. Before we started using that idea, that music would sometimes get dispersed so far you couldn't relate to it all. And sometimes it would make an effort to turn into something familiar real fast, so it would hover between these two poles and there was something not quite juicy about; not quite as promising as it could be."